Outdoor Photographer magazine has come a long way lately. The magazine is under new ownership, Madavor Media, L.L.C. out of Braintree, Massachusetts. Wes Pitts, who worked for the previous owners for more than 17 years and apprenticed under Rob Sheppard, is the new Editorial Director/Editor. The articles and headlines now appeal as much to seasoned photographers as to beginners.

There are still many articles about gear and locations, but these are done more tastefully, while more articles about the art and craft of photography are appearing. Some of the best writers from the Rob Sheppard and Steve Werner eras are back like Lewis Kemper, Carr Clifton, James Kay, Mark Edward Harris, Art Wolfe and others. Columnists such as Amy Gulick, Frans Lanting, William Neill, David Muench and others continue to produce excellent advice and insight. David Leland Hyde has been named on the masthead as a Contributing Editor.

The reproduction quality still has a ways to go, but they are working internally on improving this and other aspects of the magazine to make gradual refinements over the coming months and years. The editor has expressed the objectives of bringing in more conservation photography and more quality coverage by the experienced professionals in the field.

Currently for June, the Outdoor Photographer editors and staff put together a National Parks Centennial Special Issue with cover photograph and personal experience feature article about the “Wildlands of the National Parks” by Carr Clifton. They invited David Leland Hyde to write the issue’s centerpiece feature article called, “Philip Hyde: The Art of Making National Parks.” Ben Horton wrote an excellent article about getting off the beaten path in the parks and long-time contributor William Sawalich wrote a fascinating feature profile of George Grant who, “Toiled in obscurity for nearly three decades as the first official photographer of the National Park Service.”

The Philip Hyde centerpiece feature immerses the reader in the conservation campaigns that made many of our Western National Parks. From Harvey Manning, author of the Sierra Club Exhibit Format Series book Wild Cascades: Forgotten Parkland, to David Simons, long-time resident, explorer, photographer and land conservationist in the North Cascades of Washington, from David Brower, Ansel Adams and Martin Litton to Eliot Porter, Point Reyes National Seashore, Dinosaur National Monument, Edward Weston, Minor White, the Bureau of Reclamation, Glen Canyon, Grand Canyon, Howard Zahniser, Edward Abbey, Slickrock, Canyonlands National Park, The Last Redwoods, Gary Braasch, Jack Dykinga, Backpacker Magazine, William Neill, Chris Brown, Lewis Kemper, Carr Clifton, Alaska: The Great Land and Wade Davis author of a new book, The Sacred Headwaters, this is an in-depth look at Philip Hyde’s career, his influences and those he influenced in the field of conservation photography.

The Outdoor Photographer June National Parks Centennial Special Issue is on newsstands now and is one of the best issues of Outdoor Photographer yet. Do not wait because the special editions of Outdoor Photographer often sell out. This is not just a sales pitch. You can go online now and read Philip Hyde: The Art of Making National Parks, but if you want the special issue in the paper version, I would get it as soon as possible. Find it at Barnes and Noble and other booksellers and magazine racks, wherever magazines are sold.

This interview republished by permission of the writer Gary Braasch and Bill Kemsley, Jr., founder of Backpacker Magazine.

BACKPACKER MAGAZINE: You have not only made your creativity into a successful way of life but taken photographs that have been instrumental in battles for very important wilderness areas. How can other photographers—skilled amateurs—use their creativity for conservation?

PHILIP HYDE: Off the top of my head, they’d do a lot better by going to law school because it looks to me as if the fight is now in lawyer’s hands. But on a local level, an individual can do a lot by becoming familiar with a place that needs protection and by studying the issues. The camera can be an important tool to him. The person can make himself an ad hoc committee on a project and carry it along until something gets done. The weekend photographer may have an even more important role in such cases than the professional, who is always hung up on having to make a living from photography. There are thousands of causes I could donate my photographs to if I were only privately endowed.

BACKPACKER MAGAZINE: How did your career evolve?

PHILIP HYDE: I started in photography through nature, rather than vice versa, because of an early interest in mountains. Like everyone else, I carried a little camera around to take pictures of my favorite mountains, and one thing led to another. That was before World War II. When the war ended, just before I got out of the service, I wrote to Ansel Adams. He said he was starting a school of photography; that’s where I spent the next three years. Ansel knew I was interested in conservation and nature, and helped me get acquainted with people in the Sierra Club. My first major published photos were in the Sierra Club Bulletin of May, 1951. Making photographs of Dinosaur National Monument was the first conservation project I did for the Sierra Club. Even with that beginning my wife, Ardis, taught school for 12 years to support us.

PHILIP HYDE: Yes, some people have always said that. But I don’t think I ever imitated him. That picture of Yosemite is a good example of my evolution. Twenty years ago, I had great difficulty making photographs in Yosemite because all I could see was Ansel Adams, and I was sure I didn’t want to duplicate his pictures. Now I can go to Yosemite and see it through my own eyes. I have a tremendous debt to Ansel—not just for having taught me technique but for having inspired me, introduced me to the Sierra Club and helped me get on my way. I want to acknowledge that debt, but I don’t agree that my pictures have ever been more than superficially like his pictures.

BACKPACKER MAGAZINE: Let’s discuss taking photos for straight illustration to show other people what a place is like, versus an artistic, creative image done to please yourself. The difference seems apparent in comparing many of your shots in The Wild Cascades with those in Slickrock. For instance, the photographs in the first book have much less emphasis on small detail.

PHILIP HYDE: Several things happened between books. One was my own development. I think I started out with the idea of showing people what an area was like. When I went there I was very conscious of it as a place. Through the years as I visited more and more places, I began to realize that the PLACE, in capitals, is not really what we’re looking for after all; PLACE has become a commercial object more than anything else. To illustrate: There is no difference between Capitol Reef National Monument and Capitol Reef National Park. The place is the same, but the name change was sponsored by Utah’s industrial tourism because the term “national park” puts the place on the map. If the current wilderness proposal goes through the way it should, a very large percentage of the park will be preserved as wilderness, and the place will remain pretty much the same. Practically every book project I’ve ever worked on has had a very strong conservation aspect for saving a place. Another difference between the two books you mentioned is not the photographer’s approach but the editing. For The Wild Cascades and The Last Redwoods I produced many of the photographs, and I certainly edited them. I didn’t just dump the takes on somebody’s desk. But working with David Brower, he pretty much decided what ended up in a book. Practically all the exhibit format books were crash projects; that was Dave’s way of working. When he got an idea, he wanted to see it in a book as fast as possible. I was sympathetic to that wish because some of the places were threatened, but it often meant that the people involved didn’t really have time to do their best work I think that shows up in the photographs as well as the texts. Slickrock is a more finished book because I took all the photographs and I worked on the project a lot longer. I worked on it for several years before I ever talked to anyone about a book. I helped with the photo selection; the design and sequence of photographs were worked out by the book’s editor and a designer.

BACKPACKER MAGAZINE: It seems more and more nature photographers and editors are using images that suggest an area or give an impression of it without being specific about the exact location or subject, such as your exquisite photos of small details in Slickrock and here in Backpacker Magazine. Do you see this as a major trend in outdoor photography?

PHILIP HYDE: I think that aspect is coming out more and more. You know, there are common elements to any scene. During the gasoline shortage I thought; “What can I do? I’ve got to go where the wild places are and make pictures of them.” But if the subject were the little common things of nature, I wouldn’t have to travel very far. Maybe, conservation-wise, that’s what we all must do. Instead of flying off to another part of the world and burning up all that fuel getting there, maybe we should just look down at our feet. I’m fond of quoting what John Ruskin said: “There was always more in the world than a man could see, walked he ever so slowly. He will see no more for going fast.”

Upper Iceberg Lake, Minarets Wilderness, Now Cecile Lake, Ansel Adams Wilderness, 1950 by Philip Hyde. The Minarets were one of the first places Philip Hyde backpacked with his father Leland Hyde and brother David Lee Hyde in the early 1940s before World War II.

In Keeping with the vision of publisher Bill Kemsley, Jr., Backpacker Magazine writers interviewed landscape photographers who were significant in the fledgling modern environmental movement. For background on Bill Kemsley, Jr., the founding of Backpacker Magazine and on how the original Backpacker Magazine became a force for wilderness conservation and a voice for environmental photographers, read the blog post, “The 1970s Backpacking Boom, Conservation and Photography.”

The following interview helped inspired Pulitzer Prize winning photographer Jack Dykinga to leave photojournalism and the city of Chicago, move to the West and take up landscape photography for conservation. The interview was first published in the Spring 1975 issue of Backpacker Magazine. Interviewer, Gary Braasch is an environmental photojournalist who went on to attain the Sierra Club’s Ansel Adams Award for conservation photography, “Outstanding Nature Photographer” from the North American Nature Photography Association and “Legend Behind the Lens” from Nikon. He was also a Founding Fellow of the International League of Conservation Photographers of which Philip Hyde and Galen Rowell are the only honorary members. Click Here to read about his latest book, Earth Under Fire, and previous books he has written about nature photography and the environment. The following article is republished with the permission of Gary Braasch and Bill Kemsley, Jr., founder of Backpacker Magazine.

BACKPACKER MAGAZINE: The world is so full of beautiful places. How do you, with a drive to photograph them all, decide when and where to travel?

PHILIP HYDE: My trip planning evolves out of a combination of wanting to go back to places I really liked where I find a lot of subject matter, and the need to see new territory. Sometimes when I go to a new place I get certain images that I will never again get just because of the newness and the excitement of being in a place that’s different.

BACKPACKER MAGAZINE: What kind of kit do you take backpacking?

PHILIP HYDE: This is always a great debate. Should I take the Hasselblad and have a lot of 2 ¼ X 2 ¼ inch exposures, or should I take the view camera and make a few good 4 X 5s? It depends on the situation and the place and how vigorous I feel. If I backpack the view camera for three or four days, I can carry three or four film magazines—36 or 48 sheets—and two or three lenses. My tripod weighs about five pounds. By the time I have it all thrown in I’ve got 30 pounds. The Hasselblad, with a lot of rolls, will add up to about half that.

BACKPACKER MAGAZINE: But what kind of sacrifices to you make in the rest of your dunnage to survive the weight when you’re going into the wilderness for any length of time?

PHILIP HYDE: Everything else is minimal. We backpack with just a piece of plastic for tent, tarp and groundsheet combined. A down bag. We survive on stuff like muesli, and the cooking is pretty simple. I find that if I carry too much, I just don’t have the energy or inclination to take pictures.

BACKPACKER MAGAZINE: One answer, of course, is to go to a smaller camera. Why do you continue to use a 4 X 5 primarily rather than a 35mm, which is so much lighter?

PHILIP HYDE: The basic reason is that I can’t get the detail I want on 35mm. A 35mm original boosted up to 20 X 24 inches or even 8 X 10 doesn’t have the sharpness I’m looking for. I’m always trying to compromise with the Hasselblad because with it I can go farther, faster and lighter. But then I get something I really like on the 2 ¼ X 2 ¼ inch film and wish I had taken my view camera along and done a little more struggling to get the picture on 4 X 5. Maybe that’s pure stubbornness, but I still think there’s a difference, and the difference, as far as I’m concerned, is crucial. There’s something else too: the view camera is a terrific discipline. I don’t have nearly the discipline with the Hasselblad because I know the film’s cheap and there’s a lot of it. Expense-wise, I can shoot only about two exposures of 4 X 5 for a roll of 120 film or about 20 exposures og 35mm film. If I get one or two really good 4 X 5 pictures, I’m way ahead of the game because I often don’t get that many on a roll of Hasselblad film.

BACKPACKER MAGAZINE: The discipline you talk about—is it mostly a discipline of time? Waiting, walking around, getting the right angles and the right light?

PHILIP HYDE: What I do is form a scene with my eyes and mind before exposure, rather than inside the camera. As an art-school-trained photographer, I have an axe to grind about getting people to look harder. I don’t think the small camera does much for that because it’s too easy. As for waiting, I don’t wait. In fact it’s almost always the other way around. A fellow who was here the other day looked at a photo of a meadow with a cloud up above it. He remarked, “Gee, you must have waited a long time until that cloud got just the way you wanted it.” I had to laugh because that wasn’t what happened at all. The cloud was already there when I saw it, and I had a hell of a time getting the view camera set up before it was gone. There are photographers who claim to work the other way. They know there’s going to be a picture at a certain place and certain time of day, so they go there. But I can’t imagine doing that, because the world is too full of pictures to wait a long time for any one of them. Also, it’s very difficult for me to visualize a picture if it’s not already there. It becomes something that’s kind of put together—constructed. And if I were going to do that, it would be much more efficient to be a hand artist and paint the scene. Photography is the art of getting what’s there, not creating something.

BACKPACKER MAGAZINE: Are you saying that photography isn’t creative—isn’t a fine art?

PHILIP HYDE: What I want to say about creativity in photography is that it is analyzing what is there, rather than constructing something out of one’s imagination. Analysis consists of seeing strongly. If you define creativity as the expression of individuality, then the kind of photography you’re talking about is “creative” when it communicates the maker’s viewpoint and individual vision. This may be more subtle than in other mediums, and our audience, despite Marshall McLuhan, still isn’t very educated about appreciating photographs, which explains why there are still people around asking, “But is it art?” It’s safe to say that photography can be art, and I see more and more evidence of individual expression by a growing number of photographers.

The Role of Landscape Photography and Backpacker Magazine in the 1970s Backpacking Boom and the Combined Impact on Conservation

At the Celebration of Philip Hyde’s Life in May 2006, Pulitzer Prize winning photographer Jack Dykinga said a 1975 article in Backpacker Magazine by Gary Braasch about Philip Hyde called “Conservation Photographer” began Jack Dykinga’s journey to leave photo journalism in Chicago, move to the West and become a landscape photographer.

David, Ardis and Philip Hyde on Drake's Beach, Point Reyes National Seashore, California, 1972, by unknown bystander. The last photography visit to Point Reyes before the Sierra Club re-issued "Island In Time: The Point Reyes Peninsula," in 1974 in the Exhibit Format Series. The first issue was released in 1962, the same year as Eliot Porter's "In Wildness Is the Preservation of the World," and Rachel Carson's "Silent Spring." Eliot Porter's book consisted of all color photographs and Philip Hyde's book contained half color and half black and white. The second edition of "Island In Time" had more color plates including the most well-known image of Drake's Beach. "Island In Time" played a significant role in the campaign to make Point Reyes National Seashore. The Sierra Club published the second edition in 1974 to celebrate the creation of the National Seashore and announce that more funds were needed to complete the purchases that would make the final boundaries. On backpacks, Philip Hyde carried mainly photography gear and the campfire grate or cook stove, while Ardis Hyde carried most of the food and related supplies. This was about the age that David began to carry more of the food too. Hence the glum facial expression.

“We were delighted that Philip Hyde was willing to do an interview with a virtually unknown magazine at the time,” said Bill Kemsley, Jr, founder of Backpacker Magazine. “We were still at the beginning of the current environmental movement. Virtually every issue of the magazine was a soft-sell promotion of conservation. We carried an article stating our position on the role of the backpacker in conservation.” The article was titled “Backpack and Camera: the Battle Tools of the Conservation Movement.” In the first two years Bill Kemsley said they worked hard “at building a constituency for the environment.”

The first issue of Backpacker Magazine came out in spring 1973, which took three years to put together. Bill Kemsley, Jr worried that America in the early 1970s did not have a backpacking community large enough to support a magazine. He wanted Backpacker Magazine to support itself through subscriptions rather than through advertising. By 1973, the Baby Boomers had taken up backpacking. “The number of new backpackers alone in that year exceeded the total number of all backpackers on the trails just four years earlier,” Bill Kemsley said in “How the 1970s Backpacking Boom Burst Upon Us” in Appalachia Magazine. The total number of backpackers between 1968 and 1973 nearly doubled in just four years to more than 15 million. It took another 24 years until 2007 for the total number of backpackers to double again to 31 million.

In 1963, Bill Kemsley had observed a group of teenage backpackers leave their camp without putting out their camp fire. He went over to put out their fire and discovered they had “scattered tin cans, paper plates, cups, forks, spoons, scraps of food, assorted plastic containers and wrappers all about their campsite.” It took him nearly an hour to clean up the mess. Bill Kemsley began to ask himself the question, “What could be done to get newcomers to be more respectful of our backcountry?” He had mixed feelings because he was glad more people were enjoying the outdoors, but many of them were “careless and inadvertently despoiling the backcountry I loved. It struck me that one way to influence newcomers would be to fuel their fantasies with heroes they would like to emulate.”

“One of my heroes was David Brower,” Bill Kemsley, wrote recently in an e-mail. “One of the main influences for my including photo interviews in almost every issue was David Brower’s use of coffee table books for promoting the preservation of wilderness. I had lots of cooperation from nature photographers because of our mission.” The second issue of Backpacker Magazine featured Eliot Porter and the list went on: Galen Rowell, Ed Cooper and many others. Besides the Spring 1975 article on Philip Hyde, Backpacker Magazine featured Philip Hyde interviewing Ansel Adams in the June 1976 issue. You will see this article by Philip Hyde and the interview of Philip Hyde by Gary Braasch in future blog posts.

Bill Kemsley, Jr sold Backpacker Magazine in 1980. It went through several owners before Active Interest Media, the current owners, bought it in 2007. Active Interest Media, based in Boulder, Colorado, also publishes Yoga Journal and American Cowboy Magazines.